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carcely handled with Browning's accustomed skill and subtlety. King Victor, of whose "fiery and audacious temper, unscrupulous selfishness, profound dissimulation, and singular fertility in resources," Browning speaks in his preface, is an impressive study of "the old age of crafty men," the futile wiliness of decrepit and persevering craft, though we are scarcely made to feel the once potent personality of the man, or to understand the influence which his mere word or presence still has upon his son. D'Ormea, who checkmates all the schemes of his old master, is a curious and subtle study of one who "serves God at the devil's bidding," as he himself confesses in the cynical frankness of his continual ironical self-criticism. After twenty years of unsuccessful intrigue, he has learnt by experience that honesty is the best policy. But at every step his evil reputation clogs and impedes his honest action, and the very men whom he is now most sincere in helping are the most mistrustful of his sincerity. Charles, whose good intentions and vacillating will are the precise opposites of his father's strong will and selfish purposes, is really the central figure of the play. He is one of those men whom we at once despise and respect. Gifted with many good qualities, he seems to lack the one thing needful to bind them together. Polyxena, his wife, possesses just that resolution in which he is wanting. She is a fine, firm, clear character, herself admirable, and admirably drawn. Her "noble and right woman's manliness" (to use Browning's phrase) is prompt to sweep away the cobwebs that entangle her husband's path or obscure his vision of things. From first to last she sees through Charles, Victor and D'Ormea, who neither understand one another nor perhaps themselves; from first to last she is the same clear-headed, decisive, consistent woman, loyal always to love, but always yet more loyal toward truth.
7. DRAMATIC LYRICS.[17]
[Published in 1842 as No. III. of Bells and Pomegranates (<